Leonard Stokes

 

RESUME

 

One-Person Exhibitions, New York

“Pixe/ilated: Digital Montages by Leonard Stokes” / FXFOWLE, New York, NY, 2007

“Leonard Stokes: Recent Collages and Iris Prints”/ Jason McCoy Inc., New York/ 1997

“Leonard Stokes: Collages”/ Jason McCoy Inc., 1994-95,1992-93, 1990-91

“Leonard Stokes: Collages”/ Cordier & Ekstrom Gallery, New York, NY/ 1988, 1987,1986

One-Person Exhibitions, regional

“Leonard Stokes: Collages”/ Southern Methodist University, Mildred Hawn Gallery, Dallas, TX/ 2008

“Anecdotes: Collage and Digital Montage”/ Manhattanville College, Brownson Gallery, Purchase, NY/ 2007  

“Leonard Stokes: Recent Digital Images & Earlier Collages”/ Beacon Camera Club, Beacon, NY/ 2003

“Hot Off the Press”/ Silicon Gallery Fine Art Prints, Philadelphia, PA/ 2003

“Leonard Stokes”/ The Katonah Gallery, Katonah, NY/ 1979 

Selected Two-Person Exhibitions

Flinn Gallery (with Maureen Mullarkey)/ Greenwich, CT / 2008

Union College (with Robert Kinsell)/ Schenectedy, NY / 2006

Kiesendahl+Calhoun Gallery (with Laura Van Rosk), Beacon, NY / 2006

Washington Art Association (with Jed Devine)/ Washington, CT / 1988

Cordier & Ekstrom Gallery (with Robert Ohnigian)/ New York, NY/ 1985, 1984, 1983

University of Louisville (with Laurence Bach)/ Louisville, KY/ 1980

Selected Group Exhibitions

“183rd Annual: An Invitational Exhibition of Contemporary American Art”/ National Academy Museum/ New York, NY/ 2008…“Alchemy: Collage & Assemblage”/ 516 Arts/ Albuquerque, NM/ 2008…“The Medium: The Art of Printmaking” / Noel Fine Art, Bronxville, NY/ 2004...“The Medium: The Art of Collage”/ Noel Fine Art / 2004...“Spaces Between”/ Contemporary Art Center of Virginia, Virginia Beach, VA/ 2004... “New Terrain: Digital Print-Based Work”/Concordia Gallery/Bronxville, NY/Fall 2002... “Intimate Universe [Revisited]” (curated by Michael Walls) / Robert Steele Gallery, New York, NY/ 1997... “Collage: Made in America”/ Rosenfeld Gallery, New York, NY/ 1995... “Yale Collects Yale”/ Yale University Art Gallery, New Haven, CT/ 1993...Lacoste School Anniversary Exhibit/ Mona Bismark Foundation, Paris/ 1991...Summer and Fall Group Show/ Cordier & Ekstrom Gallery/ New York, NY/ 1987, 1986, 1985, 1984, 1983...McNay Art Museum, San Antonio, TX/ 1985... “Collage: The State of the Art”/ Bergen Museum of Art and Science, Paramus, NJ/ 1985... “Area Codes 914 & 203” (curated by Suzanne Delahanty) / Neuberger Museum, Purchase, NY/ 1982...

Alan Stone Gallery, New York, NY/ 1982...

Corporate and Public Collections

The Newark Museum/ IBM/ INA/ Chemical Bank/ Hospital Corporation of America/ The Neuberger Museum/ The Reader's Digest/ Weil, Gotshal and Manges

Bibliography (reviews)

Georgette Gouveia, The Journal News, September 28, 2007… Robert G. Edelman, Art in America, July 1991...Siri Huntoon, Art News, April 1991... Michael Kimmelman, New York Times, January 4, 1991...Carol Volk, Art & Antiques, January, 1991...Vivien Raynor, New York Times (Westchester section), January 28, 1990...Vivien Raynor, New York Times, January 17, 1986...Matthew Licht, Arts Magazine, March, 1983...Ellen Lee Klein, Arts Magazine, April 1983...John Caldwell, New York Times (Westchester section), October 31, 1982

Teaching

Purchase College (SUNY), School of Art+Design (Professor Emeritus) ...University of Pennsylvania, Department of Fine Arts (Visiting Professor, Acting Chair 1992-93)/ 1990-93...Lacoste School of the Arts, Lacoste, France/ 1989...Yale University, School of Architecture (guest critic in drawing)/ 1985-2005...The Cooper Union, Irwin S. Chanin School of Architecture (visiting faculty in drawing)/ 1981-82...Yale University, School of Art, Department of Graphic Design (collage workshop)/ 1991

Education

Yale University / BA / 1966

Yale School of Art & Architecture / BFA, MFA / 1969

Allgemeine Gewerbeschule / Basel, Switzerland / 1977-78  

 

STATEMENT

I’ve always thought of myself as a chef who cooks with leftovers – or with whatever ingredients happen to be in the pantry. I abandoned paper and glue collage-making fifteen years ago in favor of the computer, scanner, and digital camera. The finished pieces come into the world as archival digital inkjet prints. My most recent work may be thought of as faux-tographs, compositions that appear at first glance to be pictures taken of objects arranged on a ground plane before being captured by a lens. Rather, the pictures are composed of objects that have never been in the same place at the same time until I, and the software, worked our will upon them. The work is improvisational – my method is that of a choreographer who composes the dance while simultaneously auditioning dancers for a role within it. Therefore, viewers are invited to supply a narrative, should any come to mind, while encountering the image. Ultimately, my concerns lie with the poetics of color, form, light and space. I try to stay out of the way, and allow form to lead the way to meaning. My hope is that the looking will be enjoyed as much as I enjoyed the cooking.